Writings
“Atmosphere and Action: Labor, Leisure, and a Change of Air,” MLA National Conference, San Francisco, CA
Werner, Kurt James, Ezra J. Teboul, Emma Azelborn, “Modeling and Extending the RCA Mark II Sound Effects Filter,” DAFx 2022, Vienna, Austria
“Preserving Hardware History,” Array. The Journal of the International Computer Music Association (2020): 15-21
“The Loudspeaker in Art Practice: A Preliminary Taxonomy,” in Sound Art, edited by Peter Weibel (Cambridge: MIT Press; Karlsruhe: ZKM, 2019)
Bruno, Julia, Seth Cluett, Ben Holtzman, George Lewis. “Learning How to Sing: Developing a Virtual Bird to Probe Zebra Finch Vocal Interactivity,” Proceedings of the 2nd Vocal Interactivity in-and-between Humans, Animals and Robots Conference (2019)
“World and Place Evaporating,” Virtualities and Realities: New Experiences, Art and Ecologies in Immersive Environments, Acoustic Space Journal, Volume 17, Spring 2019
“Re-Imaging Deep Listening,” Sound American, Volume 19, Number 1, Spring 2018
“Haiku for Pauline, as Pauline,” with Tomie Hahn, Soundscape: The Journal of Acoustic Ecology, Volume 16, Number 1, Fall/Winter 2017
“Pauline Oliveros at ICMC Re-Visited: Technology and the Self,” with Maria Chavez, Array: The Journal of the International Computer Music Association, Spring 2017.
Featured Artist for three issues, TEMPO: A Quarterly Journal of New Music Volume 69, Issues 273, 274, and 275 (2015)
“Composer Ken Ueno Interviewed by Seth Cluett,” The Engine Institute http://theengineinstitute.org/composer-ken-ueno-interviewed-by-seth-cluett (accessed December 2015)
“Bioderivas,” exhibition catalog essay for Bioderivas, Museo de Naturaleza y el Hombre, Tenerife, Spain (2014)
“Extra Shapes,” in Diary of an Image – DD Dorvillier – Danspace Project Platform 2014, edited by Jenn Joy and DD Dorvillier. New York: Danspace Project, 2014.
“Sound, Space, and the Politics of Listening.” Tacet Revue 3 (2014). Read.
“The Raw Flow of Material,” critical essay for Inevitable Music #1: Variations on Sol LeWitt’s Wall Drawing #260, Future Audio Graphics fag003 (2013)
“Ephemeral, Immersive, Invasive: Sound as Curatorial Theme 1966-2012,” in Multisensory Museum: A Cross-disciplinary Perspective on Multiple Modalities of a Museum Experience, edited by Nina Levant and Alvaro Pascual-Leone. New York: AltaMira, 2013. Print. Read.
artspeak/coffee news pamphlet, in collaboration with Justin Luke (Audio Visual Arts)
“Zeena Parkins in Conversation with Seth Cluett,” Movement Research Performance Journal 43 (2013).
“Sound or Its Absence.” Leonardo Music Journal 23 (2013): 92. Read.
“On Sound. Richard Garet in Conversation with Seth Cluett,” ArtPulse 16 (2013).
Parisonic Room, Gaité Lyrique, Paris, France.
“Standing Wave,” in Ed Osborn: Standing Wave, edited by Scott Sherk and Kathy Burke. Allentown: Martin Art Gallery, Muhlenberg College, 2012.
“Re-thinking Site: From the Specific to the Engaged.” Le Quai 31 (2010): 4. Download.
“bathwater.” In The Book of Guilty Pleasures, edited by Song Ming An and Kim Cascone, 40-41. Singapore: Circadia Songs, 2011. Read.
catalog for “an exchange with sol lewitt” exhibition, Mass MoCA/Cabinet Space
“eccentricity.” Shifter 16 (2010): 169. Download.
2010, Space with Sound, Martin Gallery, Muhlenberg College, Allentown, PA.
“A Phatic Topography: Two Recent Works with Sound.”
Bypass 2 (2010): 128-139. Read.
“Le Corps est une Usine à Sons/The Body is a Sound Factory: Postlude to the Work of Henri Chopin (1922-2008).” The Open Space Magazine 10 (2008): 93-98. Read.
“Two Duos for Rubbing Stones on Stone (On a Poem by Giacinto Scelsi).” In
Tools of Mind, edited by Matthew Marble, 17. Portland: FO(A)RM, 2007. Read.
“Toward a Post-Phenomenology of Extra-Musical Sound as Compositional Determinant.” Leonardo Music Journal 16 (2006): 42. Read.
“waterfall.” FO(A)RM 4 (2005): cover. Read.
“A Dance About Emptiness.” 306090 06 (2004): 182. Read.
“Silent Building, Silent Mind: Essays on Sound and Architecture.” Earshot 4 (2003): 5-6.
Journal of the Acoustical Society of America 110/2692 with Curtis Bahn. “Interactions among acoustics, digital signal processing, and movement,”
Proceedings of the Journal of the Acoustical Society of America 108 (2000): 2538. Read.
Journal of the Acoustical Society of America 108/2538 with Scott Smallwood. “The Integration of computer-generated sounds and acoustic sources during live electro-acoustic improvisation” Proceedings of the Journal of the Acoustical Society of America 110 (2001): 2692. Read.